Oral Presentation



Here below my Oral Presentation related to Sustainable Prospects Module.

Please, use the following password to watch it: DayanaPPT4

Dayana Marconi, “I can hear you now, Oral Presentation of my current practice”. Assignment created for Module 4 of the MA Photography at Falmouth University ©Dayana Marconi 2017. Copyright for this video belongs solely to Dayana Marconi.

Direct link to watch the video on Vimeo: https://vimeo.com/246949823

The use of texts to support images


Interested in the work done by Ed Templeton in his 2008 book “Deformer”, I started evaluating the use of texts to support my images and I opted for an handwritten font in order to provide a more personal and intimate touch. Being born in the ‘80s, I am still attached to the habit of handwriting notes and thoughts as I used to do in my diaries when I was young. This is why I started browsing them and observing those small images and objects I used to collect on their pages, all accompanied by words. Those journals were about memories and emotions, my project is, somehow, related to the same topics: the connection was already there.

I used this technique for the first time when I started creating my Confrontation Sheets alongside those Sequences created in contact sheets’ form: I felt the urge to deeper involve viewers into the discussion: if I had to generate empathy it was simply necessary. Depicting two different types of scream, side by side, generated by different feelings or situations, I started asking my audience “Can you detect an emotion?”. The aim, here, was educational: I wasn’t only forcing the observers to face my sitters’ negativity released, but I was directly asking them to make an effort to understand the represented subject matter. But I needed to support them in the process and this is when words joined my project.


“I can hear you now – Long-exposure scream, Confrontation sheet no.3” ©Dayana Marconi 2017. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

Having written indications about the feelings to compare, viewers are facilitated in their mission: they have to combine a word with a facial expression (and body language). There are not right of wrong answers, because the important factor is to try to interpret “the other”.

During last Module, then, I decided to start creating photographic images narrating those stories behind those screams.


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“I can hear you now – Behind a scream #1 & #2”, slideshow. ©Dayana Marconi 2017. Copyright for this gallery photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

In that case, I opted to use written information to provide them with a context and to start narrating those stories, mentioned several times, that start but do not end, because my intention is to create a series of small books that readers can write by themselves having an incipit and a visual reference. I used the same font, as for all my still images containing texts, to provide a sense of continuity among different sections of my project. Here, again, we find details that support the audience in playing an active role. My “Behind a Scream” images evolved in time, their titles became more descriptive and I started using colours and lights in a different way, but their texts’ style remained the same to connect them, again, with the work previously done.

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“I can hear you now – Small Stories, Your Poems” and “I can hear you now – Small Stories, Lost”, slideshow. ©Dayana Marconi 2017. Copyright for this gallery photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

Even if with a different font (this one would not be readable enough if available for a brief portion of time), I used it also for those videos created with the same purpose.

The last use of written information has been done into the “Details” series for the same reason. In this case, anyway, my aim was not to start one of those “emotional tales”, as I previously defined them, but to create texts that could stimulate viewers’ imagination and make them want to understand more about the project itself. These images would be included into those books, containing those words my sitters usually tell me to describe their emotions before, during and after the scream (to recall the idea of diaries I was discussing above).

I am evaluating the idea of using a more readable font, or actual handwritten texts, into the final version of my work, but so far the selected one has been ideal for its purposes: creating something “personal” and conceptually link all sections of the project at the same time.

As stated into different posts of this CRJ, they would also improve the sustainability of “I can hear you now”: not only thanks to the role they have in a potential creation of a series of publications, but also for educational and research-related purposes (Confrontation Sheets) since, discussing with some Psychologists and Neuropsychiatrists I am in touch with, they could be used to measure the level of empathy and facial-expression recognition abilities in their patients. Words are powerful: they can generate that discomfort and those problems I often photograph, but they can also become part of the solution.



Templeton Ed, Deformer, 2008, Alleged Press and Damiani Editore, Bologna, Italy.

WIP: notes of a journey


After discussing my Work in Progress Portfolio with my Professor Anna-Maria Pfab and my Tutors Krishna Sheth and Paul Clements, I am pondering how to create a consistent and coherent path for this document. I have to admit I am currently very concerned since this Assignment counts for a 60% of the final mark: the itinerary it represents must be clear using images only, avoiding written explanations apart from images’ titles, “Chapters” titles and those written texts which are integral parts of the photographs and videos themselves.

The fact is that “I can hear you now” is not about a “static” topic: its subject matter is constantly evolving and it is represented from different angles, making past and present collide. As the title of this post declares, my project wants to be a journey into the psychological world of my sitters, and mine, through emotions. The act of screaming itself, representative of my current practice, is simply “an instrument” to release those emotions, not the whole project. Personally speaking, in this moment I would like to scream myself. I would like to scream because I am afraid the work done so far might be not enough to pass this Module, I would like to scream because this project is so personal and important to me and I am not sure I am actually able to represent its relevance, I would like to scream because I am constantly having panic attacks, the very same panic attacks that, alongside my Anxiety Disorder, are the starting point of this project, the emotional and psychological status I am trying to exorcise using Photography. “I can hear you now” is born because I realised that I am not the only individual facing this condition, nowadays: many people have to constantly deal with it, in different ways and for different reasons, but I think it is important to make my audience understand this point. We are not alone. We can support each other even simply with an act of empathy, trying to actually see, and HEAR, who is in front of us.

But there is another point to consider: even if the screaming-related images are so fundamental for all those mentioned reasons, I felt the urge to represent the stories behind that action, because we are our past, not only our acts. Our personal experience, our memories have a dramatic impact on the individuals we are today. There is a whole “inner world” to investigate and visit. A world made of stories that deserve to be narrated, analysed and understood. Most of still and in-motion images I have recently created focus on this point.

At this stage, I decided to deeper observe and represent that world from different perspectives that, colliding and reinforcing each other’s impact on viewers, could enhance that sense of empathy that, as stated, is the main aim of my work. But how to effectively link all those viewpoints? How to recreate a logical path to follow since into my WIP I am allowed to publish images only? How make those photographs and videos speak by themselves, as said? The problem here is to avoid the confusion that too many different directions might generate, as the received feedbacks pointed out but, at the same time, to represent those multiple realities working together.

I previously mentioned, discussing my intentions related to the creation of a project’s website, “The Canary and the Hammer”, created by the artist Lisa Barnard. To re-quote the British photographer, “This depository strives to make connections between these very different stories. It represents a personal journey through the world of gold and the structure of the story mirrors the complexity of the task of representing the world in these fragmented and troubling times” (Barnard, 2017). The same could be said discussing my project: it connects different stories, different points of view, different interpretations of the delicate subject matter it is representing. Moreover, since I cannot sell those photographs depicting my sitters screaming, if not in relation to a specific context like a campaign for a Charity, because I would not feel comfortable taking that decision, those “Behind a scream” stories might create a true economic sustainability for my project, since my intention is to collect them in photographic books that can be sold. They can be put into the Market because they would allow readers to narrate those stories by themselves and this would serve the scope of the project: reading the incipit and observing the related image, they can recreate that world in their minds, using their personal experiences. We all observe things in accordance with who we are, our opinions, our memories. We appreciate the images we can understand or that we can relate with, and so, assuming that every individual that will browse my book  has experienced at least once in his/her life a negative moment, they will surely have the ability to continue writing those “tales” into the blank pages that will follow each photograph. For this purpose, I am considering self-publishing as a suitable solution, even if I have not decide yet what path to follow in this case: it could be the “Self-publish, Be happy” approach or I could consider an online solution, like Amazon Kidle direct Publishing.

But going back now to the Work in Progress Portfolio: I can’t insert photographs created during previous Modules to provide a visual background and since during this one I followed also different directions, how to link what I have created to all those concepts avoiding confusion?

The only way, in my opinion, is to follow the following path:

  1. Starting with “I can hear you now – the emotional response” video, that shows the reaction of the audience observing my work. The subject is covered in all those screams previously photographed and she is forced to stand still watching my “Video self-portrait” that represents a moment in my life in which I was still suffering mostly for the loss of my beloved grandmother. The video she is watching and the photographs projected on her body serve as a link to the previous phases of my project.
  2. Since those photographs filmed into this video are selected from those long-exposure “Sequences” (previously named “Contact-sheets” in accordance with the technique used, but now re-named “Sequences” to avoid confusion during the evaluation phase and to provide a clearer sense of what I am depicting) and “Confrontation sheets” I often mentioned in this CRJ, I decided to include two photographs each, alternating them but divided by sitter, for a total of four images, naming this section “Can you detect an emotion? Follow the trail, go closer” because, in the end, with these photographs I am asking what the woman into the previous video is doing: understanding, empathising. They are alternated because we don’t feel a single emotion a time, often we have to face many of them at once: this is what Confrontation Sheets explain to observers. At the same time, giving them the chance to observe the whole emotional trail my sitters follow while releasing their discomfort with a scream is important: they can observe different reactions, a different way to charge and discharge those feelings, they can relate with them.
  3. Then I will include two further hyperlinks taking to the related two “Emotional Score Experiments” The first one is narrating the story of one of my sitters, while the second one is depicting a portion of my past. They are the best connection possible, in my opinion, between the video and the photographic sections and they are correlated to the “Emotional Scream Experiment #1” video I have created with the same film composer during “Informing Context” Module. As into my Sequences there is a trail to follow, here we face the same situation, even if the images are different since they start showing those stories behind the screams. I am not going to insert images related to these videos on my Portfolio, in accordance with the indications received by Professors during previous Modules. Feedbacks are important and must be taken in account.
  4. To conclude, I decided to insert “Behind a Scream” photographic images that portray the same model, often portrayed with a second one, into different areas of the same location of the previous two videos. They tell those “emotional tales” with the use of text insert with the same handwritten font I used for my Confrontation sheets.

This progression makes sense to me and it means providing at least 12 out of a maximum of 18 pieces of my work. But I sense that something is missing here. This portfolio starts with a woman observing me screaming, so can I include a section that explains what is “Behind my scream”?

As mentioned, my scream into that video was generated by grief and a sense of loss and isolation and it was strictly connected with my grandma and that mutual “womanhood” relationship is gone lost into my family once she died. She was our glue, without her my mother, my aunt and me became individuals and not parts of that tight group anymore. I am the genetic result of those women forming that community: in my personality, my face, my hands, my hair, my soul I see “pieces of them” and now one of those pieces is lost. It exists in my memories only.

I started representing that sense of loss in one of those “Details” I have photographically created and I truly believe that the suggestion of my Tutor Krishna makes sense: to further investigate this direction using the same tones, colours and lights I have used for that image. Creating a story made of memories and objects recalling my grandmother and my relationship with her”.

But does it make sense doing it right now? Is it the right way? Should I wait and create those images for next WIP? Would they result coherent with other images?

Lights and colours, even if more delicate and less “dark”, are connected to other photographs and I feel it is right concluding by portraying what is behind that sound we can hear into the first video included into the portfolio, but would this article, alongside some others I could write to explain this specific concept, be enough to justify the presence of those images at this stage? Would it be enough including these details into my Oral Presentation since I will also have to focus on the sustainability of my project in ten minutes? Would including this section mean excluding important information that need to be shared in that context?

These are doubts that still generate a lot of anxiety in me since I am also running out of time. I hope that this last webinar with my Tutor and involving also my other Tutor Paul Clements into the discussion would help me in understand how to proceed since my Professor did not exclude this section a priori, but she is also right when she says that not supported by texts it might weaken the cohesive approach I am desperately trying to pursue: this is why I am currently considering to focus my attention on this section only after this Assignments’ period. It requires my whole attention and must be created with care and even if it is important to me creating thise series, it does not mean I necessarily have to do it right now.


After careful considerations, I decided to follow my instinct and to strictly adhere to the list of contents I previously mentioned for the creation my WIP.

I had to face, then, another challenge: how to order my “Behind a Scream” stills?

Following images’ succession and reading the related texts, becomes visible the meta-textual content I recreated, generated by the narration of a story made of different small stories. They work as single images and as a whole body of work at the same time. They depict a tale told by two different perspectives that collide when the big story ends. There are two women: in the first images one is the narrator, while in the last ones the second subject continues the “tale”. This change is also marked by the changes in colours, tones and lights of my images. What creates that collision between the two different narrative voices is the last photograph, explaining that, in reality, there is only a single person depicted into that sequence. After traumatic events, often people describe their mental reaction to them as sort of out-of-body experience. Since my work is focused on negative emotions generated by events or memories to reach a new positivity, I believe this was a good way to represent that concept: ending that story made of stories with a promise, by portraying the subject predicting that everything will be just fine somehow, but, at the same time, discovering that she is making this promise to herself, that she is holding her own hands.

After completing the submission of my WIP, alongside another work created in Los Angeles, I used some of the images of my project “I can hear you now” (and from my current WIP as well, of course) to submit an entry for the International Photography Award (IPA) 2018 lead by the British Journal of Photography: https://enter.bjpipa.com/share/ddbf40bb07ff915a59d69e80a1632aac/.

I think it was important to start following the priceless advice my Tutor Krishna gave me: “Trust yourself” (and my work, of course). Moreover, having even external feedbacks might help me in understanding what kind of impact my work has on an “Professional” audience who look at it for the first time not having previous information: something important also to create my final portfolio for this MA.



Amazon Kindle direct publishing, online service https://kdp.amazon.com/it_IT?ref_=kdpgp_p_it_psg_pt_ad2

Barnard Lisa, official website http://lisabarnard.co.uk/

Barnard Lisa, The Canary and the Hammer, project’s website http://www.thegolddepository.com/ (quote into the “About” section)

British Journal of Photography, International Photography Award 2018, official website https://www.bjpipa.com/

Marconi Dayana, official Vimeo page https://vimeo.com/dayanamarconi

Ceschel Bruno, Self-Publish, Be happy, a DIY Photobook Manual and Manifesto, 2015, Aperture Foundation, NY, USA.

I can hear you online


Considering March 2018 as deadline, my intention is to create an official website for my project “I can hear you now” alongside my personal one. The website containing the more specific body of work should be considered as “derivative” but, presuming to bypass here the creation of the more generalist one, I have pretty clear in my mind how its structure should be. Apart from each page-contents, the static elements (header and footer) would be the same for each page, not considering the Blog section.

Introductive page/Home: it would have a very clear design and it would simply contain a header with the Menu, the “Introductive video” I have created for the project and a footer containing my contacts and the links to the related Social Media profiles.

Images:  I am interested in obtaining a visual final result similar to the Felicity McCabe’s official website I had the chance to visit today: http://www.felicitymccabe.com/. Contents are clearly divided and displayed and the style is simple, exalting images. Each section of the project could be clearly depicted by a representative image and a brief title: moreover, this would provide that sense of path I am trying to create for my body of work. The concept of “Itinerary” (another word I might use to define this area) is very important to connect all the sections of my project: they all work together for a specific aim and they all are necessary to provide different perspectives on the subject matter. This area should recall the concept created for Lisa Barnard’s “The Canary and the Hammer”, that the artist defined in the following way: “This depository strives to make connections between these very different stories. It represents a personal journey through the world of gold and the structure of the story mirrors the complexity of the task of representing the world in these fragmented and troubling times” (Barnard, 2017). Even if the topic is different, the concept is similar. Analysing this and all previous points, I opted not to call this area “Photography” since my project is developed using both still and moving images and I would not use the word “Portfolio” since this area will be more an exhibition of my work related to a specific subject matter only, a path to follow.

Info: I would be brief in sharing a biography, in this area I would like to focus more on explaining what is “I can hear you now”, its aims and scopes. It should be more a Project-Bio rather than a personal one.

Collaborators: In this page I would like to include a full list, in alphabetical order, of all those artists, professionals, Associations or Groups who work with me, sharing a couple of lines about them and their contacts.

Blog&News: in this page I would collect the most representative articles written for my CRJ during this MA Photography at Falmouth, all those articles written by those professionals and artists I will collaborate with and I will share all future potential news related to the project.

Contacts: as the last page of the website. Here I will collect the information and details I will insert in those Business cards dedicated to this work. I am considering this page even if all infos are available in each page’s footer, because users often do not pay attention to those details and require a simple navigation mode, with all contents clearly provided.

Focusing, then, a bit more on the style its pages should have, I would like a white background and a minimal design, possibly recreating a sort of contact sheet’s layout in the way the different sections of my project will be displayed on the page, something similar to the one I used for my Portfolio on CargoCollective http://cargocollective.com/dayanamarconi/. Even the font I will use should have a “minimal style” and all details related to it visual concept should mirror the generalist website to improve their conceptual connection.

My intention is to ask a friend, who is a web designer and programmer, to create them both using the same layout but a different structure, of course. I will face the insertion of all contents in first person: in this way I will reduce costs and I will have the chance to have both of them for about 600/700€. Involving a professional in the creation of my web pages, I will improve the quality of the way it will be graphically presented and I will enhance its functionality: something very important since not only the subject matter counts but also the way in which it is presented to the audience. A higher quality means more credibility, especially in the world of Photography: this is the main reason why it worths the expense.

At this stage of the project cost-saving is vital since I am not earning enough to immediately repay all outflows, this is why I will sponsor this website on all its related Social Media by evaluating when to pay for an advert and when to simply share the page as much as I can, possibly considering the use of different Languages to depose all contingent barriers. I have been working as translator for several years, so I could cover some of those foreign Languages I might use to write some presentation-posts, the others could be covered by some friends living abroad, like what has been done for “Surface and Strategies” exhibition during Module 3. In this specific case, even if the standard Language of “I can hear you now” will be English, I could create “readable” contexts and contents to all those not-English-speakers since, in the end, when they will face the imagery collected into my website they should, then, speak by themselves.

My target audience is related to different environments and they will “consume” my work in different ways and from different perspectives:

  • Art Galleries & Magazine – I will use this website to support the images contained by the Portfolios I will send them to have the chance to exhibit my work;
  • Professors and Associations for a potential PhD – since my intention is to understand if I can expand my project during a PhD, using it as a starting point and taking a different future direction. I might use this website to share the work and the research done so far so that my interlocutors can have a better idea of what has been done and what paths could be, subsequently, undertaken.
  • Customers and Collaborators – that will have the chance to observe how I develop a long-term project and how I proactively collaborate with other Artists and Professionals.
  • General audience – people who might be interested in becoming customers (in relation to those images I might consider to sell or because they might simply like my photographic style) or future sitters.
  • Charities – that might be interested in sponsor my project in the or to use its parts to communicate their messages.

At this stage, I did not publish anything outside my Social Media profiles since I am evaluating viewers’ feedbacks in order to understand what sections to maintain and which ones to exclude from the final version of “I can hear you now”: I am still exploring new paths, this is why I am now focusing my attention to audience’s reactions.



Barnard Lisa, official website http://lisabarnard.co.uk/

Barnard Lisa, The Canary and the Hammer, project’s website http://www.thegolddepository.com/ (quote into the “About” section)

Marconi Dayana, online Portfolio on CargoCollective http://cargocollective.com/dayanamarconi/

McCabe Felicity, official website http://www.felicitymccabe.com/

Emotional Score Experiment #2


“I can hear you now – Emotional score Experiment #2”. ©Dayana Marconi 2017, Asti/Rome/Los Angeles. Copyright for this video and photo gallery belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

Direct link to watch the video on Vimeo: https://vimeo.com/245894272

“I can hear you now – Emotional score experiment #2” is the second video of that series born with the aim of creating a link between the moving and still images’ sections of the project while, at the same time, representing the stories behind those screams that became the distinctive trait of my work.

Strictly connected to the videos “Scream Score Experiment #1” and “Emotional Score Experiment #1”, it provides a cross section of that reality behind that act: as a matter of fact, all these videos are part of a series of moving and still images named “Behind a Scream” with the aim of depicting those stories behind the action that represent the main body of work created for this project so far.

As written in relation with previous experiments, I asked Elena Maro, the Italian music composer based in Los Angeles I collaborated with for both mentioned videos, to re-create in music the photographed emotional path, in this case mine, that I wanted to portray with that sequence of still images in order to demonstrate that feelings can become audible using film score technique, if used to underline and reproduce them.

Those images represent part of my personal history, moments frozen in time that became a story again thanks to the video montage and the music that perfectly represented my emotional status.

The sequence of photographs provide my personal perspective. “Your head was full of ghosts. It was simply too heavy… And I watched you cutting… And cutting… And cutting…” it is not only about the portrayed woman, but about her relationship with the impotent person who is observing the scene (me) perfectly understanding what will happen next, but still unable to take action. It is something that already happened, symbolically recreated in a constant present time: the hair that need to be cut like, by falling on the ground, they could lighten the head from its “heavy thoughts”; the sound of the scissors, recreated by double basses played “col legno”, each one representing a step forward of the depicted woman to an inevitable conclusion; the scissors themselves, with the function of performing the ultimate decision, especially while abandoned on the ground among all those cut hair.

Many other concepts and perspectives are depicted in a symbolic way. The observer and the photographer coincide in real life as into the video: I am represented by the movements of the camera, that goes closer but that is also “pushed away” by the pain and the sense of loss pervading the scene.

At the end of the video the two main “characters” are face to face; the woman in the sequence, the friend I have lost in real life, obliged me to look directly into her eyes, challenging my soul to deal with what was going on, what happened in that portion of my existence that she is representing. The score portrays that mutual relationship: some sounds correspond to the sitter, the others to the viewer. Combined, they depict that connection and its consequences.

The final heavy breath, swallowed up by a ruble culminating into the complete dark, is the highest depiction of that connection: the roar is the final goodbye of the protagonist as I perceived it, the panicking and gasping breath is my reaction. The score, the photographs themselves, the subject and the hesitating observer are all perfectly combined to recreate that sense of anguish and loss.

This video was my ultimate homage “To Elisa. Gone to soon, but never forgotten” and I did it with all my heart.

Alongside “Emotional Score Experiment #1”, this in-motion sequence is very important to connect all different parts of my project:

  1. The sequence itself perfectly represents the sense of an action taking place, this is something already seen into my triptychs and, more extensively, into those long-exposure “Sequences” created with the contact sheet’s technique. Moreover, it works as a perfect connection between my video-representations and my still images;
  2. It is connected, thanks to the combination of techniques used, to the “Scream Score Experiment #1” video, which can be easily reconnected to the main body of work created for “I can hear you now”;
  3. It is a confrontation between two different colliding realities and the same thing could be said talking about my Confrontation sheets;
  4. It is, of course, related to those “Behind a scream” short stories, which are simply its “still-version”: a story partially revealed that must be continued in viewers’ minds.

As written while discussing the first video of this series, collaborating with another artist, especially if geographically placed in another Continent and operating in another field, does not only mean to expand the artistic and human perspective that two different sensitivities working together could provide, but it also means a wider distribution of my work and potential new collaborations and customers for both of us. While her followers and collaborators are appreciating her score, they have the chance to observe my photographic work at the same time and, being Photography for Cinema something I am definitely interested in, Los Angeles is an intriguing potential market for a future career. Moreover, currently having Rome as a starting point to approach the same Industry, I am not only creating materials that I could present to potentially show a Director of Photography how I portray an action in still images using different lighting systems and locations, but I am also generating evidences of my ability to actively and productively collaborate with other professionals, which is vital in this environment. At the same time, word of mouth and a good use of Social Media is crucial to find new customers or “partners” and disseminating these videos online in two, with the aim of publicizing both our roles in the creative process, might attract a wider audience and more visualizations, meaning to engage a stronger interest in the project for a prospective exhibition or sponsorship.

The costs of realization were more than reasonable:

  • 17€ for the wig the model is wearing;
  • 15€ for travelling costs of the model;
  • 20€ for participants’ lunch;
  • 0€ for the location;
  • 0€ for MUA and Hairstyle;
  • 0€ for styling;
  • 0€ for model’s fees;
  • 100€ travel costs from Rome-Asti-Rome (to be split for three videos and a photo-shooting), meaning 25€ for this video;
  • 0€ Photographer’s Assistant fees;
  • 0€ film score fees (paid in free collaboration to the Film Composer’s projects since we are often interested in each other’s work);
  • 0€ lighting system rental.


Since, in this case, the costs to cover have been very low, this video can be considered as easily sustainable as long as it will generate a modest number of viewers online in the future months: considering that to join a maximum of 1200 users with a one-week-duration advert Facebook asks almost the same price and that those visualizations, especially if the insertion is not correctly addressed, usually generate no more than 50/80 likes, by uploading it on Vimeo and subsequently sharing it on Social Media (again, in two) for free we might reach the same result in a few weeks.

Anyway, these are argumentations more related to the subject matter of this Module rather than the one strictly connected with the contents of my video: what represented was not only a homage to a friend who passed away, but it counts also as a session of Phototherapy for me. Maybe I will never overcome the sense of loss generated by the death of my grandma and of all those friends I have lost in these last two years, but giving it a physical dimension and freezing that pain thanks to the photographic images was like to face that sensation of guilt that irrationally constantly chases me. That was priceless.



Marconi Dayana, Vimeo official profile page https://vimeo.com/dayanamarconi

Marconi Dayana, I can hear you now – Scream Score Experiment #1, video released on Dayana Marconi Vimeo channel in July 2017 https://vimeo.com/225274701

Marconi Dayana, I can hear you now – Emotional Score Experiment #1, video released on Dayana Marconi Vimeo channel in November 2017 https://vimeo.com/244544041

Maro Elena, official website https://www.elenamaro.com/

Deconstructed realities: a Sequence step by step


An important element of my body of work is the creation of those Sequences that, alongside their related Confrontation Sheets that ask viewers to better understand what they are actually observing, create a trail the audience can follow to face, step by step, the emotional path my sitters undertake during the shooting phase.


“I can hear you now – Long-exposure scream, Confrontation sheet no.11” ©Dayana Marconi 2017. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.


“I can hear you now – Sequence 16”, Process Analysis, Long-exposure Contact sheet 16, horizontal versions” ©Dayana Marconi 2017. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

Those sequences are created using the contact sheet’s technique not to capture “the decisive moment”, to use Henri Cartier-Bresson’s words (Cartier-Bresson, 1952), but to capture a sequence of decisive moments. Each image is important since it registers the emotional status of my sitters, they all show different moments of an emotional condition that takes them to that climax represented by a scream and the subsequent “reaction” to that action. Each element, each moment, each “fragment” is important: they all represent the crescendo of those negative feelings inside subjects’ minds, their release and their transformation in “a space” that can be subsequently filled with positivity.

In each phase of those “Sequences”, body’s movements and language have the same importance of those facial-expressions I analysed since the very beginning of this MA Photography. Even before those well-known case studies created by Dr Paul Ekman, Dr Thomkins and McCarter demonstrated that “facial expressions were reliably associated with certain emotional states” (Tomkins & McCarter, 1964). In my work this statement is demonstrated: all images clearly depict different moments of those states, their development and their variations in time.

This is why, like what I have done for “I can hear you now – Sequence No.7 , Long-exposure Contact sheet 7, horizontal version, I am now presenting each step of  “Sequence 16”: having the chance to show all those images contained by a contact sheets is vital to better present its single elements, especially since into our Work in Progress Portfolio we can only present twenty images and so there is no space to deconstruct one of those images.

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“I can hear you now – Deconstructed process Analysis, Sequence 16”, Long-exposure Contact sheet 16, slideshow” ©Dayana Marconi 2017. Copyright for this photo belongs solely to Dayana Marconi. Images may not be downloaded without her permission.

As discussed into my articleDeconstructed realities: what’s in a contact sheet?”, I previously extrapolated single components out of one of my Sequences/Contact Sheets since my intention is to use them to create a publication. To simply alternate Contact and Confrontation sheets would generate, in my opinion, a quite static result, as also analysed with my previous Tutor Stella Baraklianou. As I had the chance to write “Deconstruct to recreate” was my intention, something I have also done in the creation of my “Emotional Score Experiments” in which I froze single moments of an action to subsequently recreate it with a video (static images in motion).



Baraklianou Stella, official website http://www.stellabaraklianou.com/

Bernstein Adam, Henri Cartier-Bresson, 1908-2004: The acknowledged Master of the Moment, The Washington Post, August 2004 issue http://www.washingtonpost.com/wp-dyn/articles/A39981-2004Aug4.html

Cartier-Bresson Henri, The Decisive Moment, 1952, Editions Verve, Paris, France.

Ekman Paul, Keltner Dacher, Facial Expression of Emotions, in M. Lewis and J. Haviland-Jones (eds) Handbook of Emotions, Second Edition, Chapter 15, 2000, Guildford Publications, Inc., NY, USA, pp.236-249 https://www.paulekman.com/wp-content/uploads/2013/07/Facial-Expression-Of-Emotion1.pdf

Ekman Paul, Paul Ekman Group’s official website http://www.paulekman.com/

Marconi Dayana, Deconstructed Realities: what’s in a contact sheet?, article into the Surfaces and Strategies section of this crj https://daybydaydayana.wordpress.com/2017/08/15/deconstructed-realities-whats-in-a-contact-sheet/

Tomkins, S. S., McCarter, R., What and where are the primary affects? Some evidence for a theory. Perceptual and Motor Skills, 1964, Springer Publishing Company, NY, USA, pp.119-158.

I can hear you now: the motherhood perspective


During the previous two articles of this series that involves different professional figures who analyse, from different angles, the subject matter of my work, we had the chance to acquire information related to its historical and a psychological interpretation.

Those contributes have been very important to me since, as previously stated, I am interested in using my project as a starting point for a potential PhD related to the relationship between Photography and Psychology/Sociology. My idea is to create a body of work that connects the use of Photography as a tool to investigate psychological and social problems and to connect it to Phototherapy: while into my current practice sitters and viewers have an active role in the creation and in the interpretation of my images, my future scope is to involve therapists and patients directly into the creative process.

But since “I can hear you now” wants to provide a wider perspective, related to the analysis of “negativity” in its broader meaning with the scope to transform it in the necessary positivity to face our everyday life, I decided to undertake different paths during my research.

For this reasons, thanks to the support and contributions of those “Professional authors”, I am now exploring different potential fields that might help my project in its development and improve their sustainability by starting to use it in support of individuals connected to different realities.

Thanks to the following article, written by Cristina Massano and Chiara Cattaneo, I realized that my project could also serve those future mothers who might need to release their sense of anxiety related to those big changes in their lives connected to procreation. This is why their words are very meaningful to me: they made me discover a new potential concrete use of my work and made me want to look for potential new collaborations with Associations like “Mamme di Luna” born with the aim of supporting women and men in following the path of a more informed and natural parenthood.

Hereafter, the third article of this series, in its English translation, written by Cristina Massano and Chiara Cattaneo.

Cristina Massano is a Doula, antenatal and neonatal Educator. She operates in Asti in direct contact with families. She offers them practical and emotional support starting from the moment of conception to those different growth-phases of their children

Chiara Cattaneo is a professional Midwife and a freelance Sexual Consultant. She works in Asti and in the Valsesia Region. She assists women during all different phases of their lives, especially during maternity and after childbirth. She also assists those women who decide to deliver at home.

They both collaborate with women, couples and families by creating support-paths for a positive and natural birth creating courses, examinations, consultations, assistance during both domestic and in hospital deliver and continuing this course during the first year of life of the newborn.

Cristina actively took part in the project “I can hear you now” with her husband during the months following the birth of her first daughter Adele. This is why she decided to write a professional consideration about its subject matter in collaboration with her co-worker. They reflected about their experiences with those new-mothers they assisted: the act of screaming and the use of the voice, in most cases, has been a “loyal fellow” during the labour phase and for pain-management.

In relation with the testimonies of those women that have been gathered into the first section of this article, they have been collected during those days following the deliver, at the Hospital or into the domestic environment; the second ones during post-partum meetings in order to investigate the motherhood-perspective in relation with the topic “Also newborns need to scream”.



“Vocalising during the labour phase was instinctive, nothing planned in advance. It helped me to abandon me, supporting the flow of becoming a mother” GIULIA
“I promised myself not to scream, but I did it! But being always with my baby, guiding him, following the same trip together, this birth. Voice is important even the one of new-fathers. Voices guide the baby!” LUANA 
“I can affirm that singing represented to me a great companion in this adventure and every vocalism cradled my pain, sustaining me in the sweetest way possible during the long and painful, but unforgettable, travel of my baby and our first encounter” SARA  
 “Singing has been the medium that made me accept the pain making it pass through my body, but the scream has been the act that liberated me from pain” STEFANIA
“A positive conscious wave, sometimes unreasonably unbearable, the liberating energy of last push, accompanied by a scream, marked a moment of detachment, but also the birth of an indescribable special bond” ROMINA

During uterine contraction, that we define as “A Wave”, the use of the vocalism, with a background sound, is a powerful analgesic instrument. The woman starts whispering an A and then she articulate all vowels in different tones to conclude with a M.

Sounds are modulate with breath during the whole phase of the breathing out and of the wave, having a deep impact on a psychic and emotional level. This type of vocalisation is defined “Carnatic chant” or as “The chant of vowels” and it is a tradition born in the south Region of India during 2000 a.C. It has been transmitted from generation to generation and during the 70s has been resumed and used by the French gynaecologist Frédérick Leboyer.

Chanting is a big help to guide the body in each phase of the deliver, to let the pain cross it and to release tension, but saving energies at the same time, living the labour in a more active way. Moreover, it allows women to improve the awareness of abdominal breath, mitigating muscular tension. The validity of the “Carnatic chant” is originated by the deep connection between mouth/throat and vagina/cervix developed starting by the embryonic germ during the first trimester of pregnancy. A relaxed mouth is translated into a more elastic vagina and, on the other hand, those women who tend to clamp their jawbones will have more rigid perineal tissues.

Thanks to vocalisations, oxygenation increases also at a placental level, with healthy consequences for the unborn child. The vowel A facilitates the relaxation of the throat and, as consequence, it generates a superior cervical extension and perineal distension. The emission of lower sounds, then, facilitates the progression of the newborn into the canal of deliver. There are not only physical benefits: the chant produces a pleasant feeling to the woman who practices it, since it generates a release of endorphins.  The voice results as one of the most powerful “analgesic instruments” during labour.

During the final phase, those contractions generated by the head of the newborn descending the channel of deliver, the act of screaming (a liberating scream, guttural, brief, prolonged or blown) helps the woman to guide her baby towards the light and towards herself. Screaming supports the effort, it fosters the relaxation and the aperture of the perineal tissue. The woman who screams giving birth her own child is powerful, but sometimes this instinct can frighten the woman herself and the staff assisting her.

But the act of opening the mouth with the subsequent generation of a scream is liberating, it is the way to abandon and shut off the rational part of the brain to unload everything her body “tells her to do”. The “good parturient” who suffers in silent, is an imposition of some professionals who do not accept and do not respect her instinct during the act of giving birth.

“My children deserved to be exposed to life at their pace in order to leave my internal hug and immediately find my heart” SILVIA


“When mom doesn’t understand… I cry!” PAOLA & VITTORIA
“The cry of a newborn is the most enigmatic thing ever! Sometimes I tell Arianna: Speak Arianna! Speak… Why don’t you speak?” CHIARA & ARIANNA
“Marco’s never been a moaner, maybe this is why when he cries I panic… Even into the delivery room I have been waiting with anxiety to hear him cry” PAOLA &MARCO
“Every newborn’s crying is an alarm signal for his mother…” GIULIA & GIOELE
“The cry of a newborn is the expression of a need that, if unsatisfied, can result in a sense of inconsolability on into silence” SILVIA & CECILIA
“The way my baby cries is so intense, but as soon as it gradually increases it becomes more brief and it is easier to comfort her” STEFANIA & EMILY

Thank God, the baby cries! Otherwise how would he communicate with his parents? The newborn has no social restrictions, he doesn’t know that screaming is not a good social habit and he does not own another medium to communicate his needs.

The scream of a newborn causes distress into adults, especially in his own parents: it forces them to a bigger level of attention to research a potential solution to bridge a need and to placate their child crying (it even stimulates hormonal consequences, like the oxytocic’ reflex of milk’s emission).

Only in this way the newborn slowly gives a sense to his sensations, to his malaises, to his lacks: the continuing response of his parents to his cry.

This because it is true that small children often don’t even know why they cry: hunger, sleepiness, need to be changed, the sensation of hot or cold, boredom, need of physical contact or… Who knows! “Human puppies” are born immature and completely depending on adults. Let’s imagine if they would only communicate by smiling: we would go back to sleep with no worries. Only with time, various attempts and the mutual physical contact with his parents they discover each other and, finally, the meaning of some of those screams becomes clear!

Reacting to a baby crying by trying to interpret it and avoiding to ignore it is important to develop a safe attachment, to handle separation anxiety around the sixth month of his life and to generate a sense of trust in the parental figures: this is also very important to reach a good psychological stability during the adult age.

To conclude, from our professional perspective the artistic project “I can hear you now”, created by Dayana Marconi, could become an opportunity for all those women who are dealing with the maternity path. It can make them feel authorised to use their voice and to scream during the labour and the deliver. Moreover, it might help the new-parents in understanding that the newborn cry is rarely a symptom of a disease or the expression of a tantrum, but that it is always a medium to communicate and that must engage an active response.

Original Italian article: written by Cristina Massano & Chiara Cattaneo.

English translation: Dayana Sharon Marconi.



Balsamo Elena, Sono qui con te, 2007, Edizioni Il Leone Verde, Città di Castello, PG, Italy.

Bortolotti Alessandra, E se poi prende il vizio? Pregiudizi culturali o bisogni irrinunciabili dei nostri bambini, 2011, Edizioni Il Leone Verde, Città di Castello, PG, Italy.

Cattaneo Chiara, professional page on “Centro Famiglia L’Abbraccio” website https://www.centrofamiglialabbraccio.com/chiaracattaneo

Centro Famiglia L’Abbraccio, official website https://www.centrofamiglialabbraccio.com/

Leboyer Frèdèrick M.D., The Art of Giving Birth: With Chanting, Breathing, and Movement, 2009, Healing Art Press, Rochester, Vermont, USA/Italian Edition: L’arte di partorireEsercizi vocali e di respirazione dall’inventore del parto senza violenza, 2015, Red Edizioni, Milan, Italy.

Luna di Mamme, Association’s Facebook profile https://www.facebook.com/lunadimamme/

Massano Cristina, Cristina Doula Massano – professional Facebook profile page https://www.facebook.com/cristina.massano.5

Schmid Verena, Il dolore del partoUna nuova interpretazione della fisiologia e della funzione del dolore per la donna moderna. Metodi di analgesia naturale, First Edition: 1998, Centro Studi il Marsupio, Florence, Italy/Second Edition: Quaderni di donna & donna numero 5, 2008, Edizioni S.E.A.O., Florence, Italy.

UPPA, Speciale – Perché i bambini piangono, Indipendent bimestrial Magazine written by Italian Pediatrician and Childhood’s Specialists, UPPA, Milan/Rome, 2015 issue 1, Italy. pp. 1-11. Free download https://drive.google.com/file/d/0B5fSWnHiwY48V3oteXJ1aDRIdWc/view

UPPA, official website https://www.uppa.it/